"A collector's dream come true, Sam Sander's Mirror Mirror is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact given that it ranks as one of the strongest releases in the already air-tight era of Strata Inc's Detroit. Although he's been compared to John Coltrane, Ornette Coleman, and Joe Henderson, Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorized as jazz. As such, Mirror Mirror moves seamlessly between spirit and style. The album starts on the street with 'Inner City Player,' a superfly breakdown of a Detroit hustler's life, before moving into distinctly abstract territory with the melancholy 'Face at My Window.' The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straight-forward jazz song on the album, 'Lover's Gain' showcases Sanders at his freewheelin' best. And if there was to be any doubt that Mirror Mirror can get funky as hell, look no further than the wah-wah guitar and early synth sounds of 'Funk'ed Up,' easily the greasiest cut on the album. Mirror Mirror has been remastered from the original reel to reel masters, along with the artwork, which has been restored and printed on top heavy stock, tip on gatefold jackets. The record is numbered and pressed on 180 gram vinyl. Includes extensive liner notes and never seen before photos."

"Rare jazz from the legendary Detroit jazz label Strata Records, Inc. Remastered from the original master reel to reel tapes. Following on the heels of Kenny Cox's previously unreleased Clap Clap! The Joyful Noise, 180 Proof Records continues to bring new life to the Strata Inc. catalog with Larry Nozero's 1975 passion project, Time. The last album to be released on Strata Inc., Time is a dream-like mix of mood, an album full of range, tempo, and feeling; from the impulsive and airy rendition of the jazz standard 'All the Things You Are' to the brooding melancholia of 'Tony,' Nozero's Time is destined to become known among aficionados as a classic of 1970s jazz. Like time itself, each song is open to individual interpretation - something Nozero himself confessed to on the album's original liner notes, saying 'It got so deep that we decided to call the group and our album after that concept of Time, because it seemed to mean something to just about everyone.'"

"180 Proof Records continues to bring new life to the Strata Inc. catalog with Larry Nozero's 1975 passion project, Time. The last album to be released on Strata Inc., Time is a dreamlike mix of mood, an album full of range, tempo, and feeling; from the impulsive and airy rendition of the jazz standard 'All the Things You Are' to the brooding melancholia of 'Tony,' Nozero's Time is destined to become known among aficionados as a classic of 1970s jazz. Working with his cousin and collaborator Dennis Tini, Time is unlike many albums of the era in that it truly feels like a work fueled by freewheeling expressionism. The pieces are funky, soulful, strange, and soothing all at once. Tini's stand-out contribution to the album is 'Tune for L.N.,' a funk-fueled piece of rhythm-centric jazz. A distinguishing feature of the album is the use of wordless vocalise. The scat work on part two of 'Chronicle of the Murdered House' adds a distinct counterpoint to Nozero's reed work, while the high pitch bebop of 'Baubles, Bangles and Beads' closes out the album with a carefree and buoyant groove. Time has been remastered from the original reel to reel masters, along with the artwork, which has been restored and printed on top heavy stock tip on gatefold jackets. The record is numbered and pressed on 180 gram vinyl. Includes extensive liner notes and never seen before photos."

Standard, non-gatefold edition on 140 gram vinyl with insert. "Lorin 1974, Strata Records Inc. was well known in Detroit for their art gallery, live music venue, and record label, turning out records by artists like Kenny Cox and Lyman Woodard. In 2012, nearly four decades later, Scion commissioned DJ Amir Abdullah to research and create an exhibit based on lost youth culture in Detroit for a new online museum. Familiar with the history of Strata Inc., Amir decided the best way to define the era was through the lens of the label's brief but potent influence on the city's culture. Inspired by this project, Amir set out to re-introduce the world to Strata Inc. through his own label, 180 Proof Records. The Lyman Woodard Organization's Saturday Night Special (1975) is perhaps the jewel of the label, but the LP that was to follow - Cox's unreleased Clap Clap! The Joyful Noise, is at the same time radical and sublime. It's a visionary work, inspired by both the innocence and zeal of his 3-year-old son, Philip, and also the culture of Latin America and Caribbean lands Cox admits in the album's original liner notes that, 'oddly enough... I've never seen.' This is unreleased jazz from the legendary Detroit Jazz label Strata Records, Inc. remastered from the original master reel to reel tapes with never seen before photos and extensive liner notes by respected music writer Ronnie Reese, author of the first official J Dilla biography."

"Lorin 1974, Strata Records Inc. was well known in Detroit for their art gallery, live music venue and record label, turning out records by artists like Kenny Cox and Lyman Woodard. In 2012, nearly four decades later, Scion commissioned DJ Amir Abdullah to research and create an exhibit based on lost youth culture in Detroit for a new online museum. Familiar with the history of Strata Inc., Amir decided the best way to define the era was through the lens of the labels brief but potent influence on the city's culture. Inspired by this project, Amir set out to re-introduce the world to Strata Inc. through his own label, 180 Proof Records. The Lyman Woodard Organization's Saturday Night Special (1975) is perhaps the jewel of the label, but the LP that was to follow -- Cox's unreleased Clap Clap! The Joyful Noise -- is at the same time radical and sublime. It's a visionary work, inspired by both the innocence and zeal of his three-year-old son, Philip, and also the culture of Latin America and Caribbean lands Cox admits in the album's original liner notes that, 'Oddly enough... I've never seen.' This previously unreleased masterpiece by Kenny Cox has been remastered from the original reel to reel masters, along with the artwork, which has been restored."